Principles, Ethics and Rights

Access Rights for d/Deaf and Disabled People

Checklist for Organisations

  • Has your organisation identified and worked to remove barriers to access?

  • Does the organisation have a current DAP (less than 5 years old)? Is it implemented? Has there been positive change?

  • Has your organisation identified their motivation behind access and inclusion?

  • Does the organisation have representation from d/Deaf and/or Disabled people as members of boards, committees, employees and creatives?

  • Does the organisation consult with disability advocacy/access groups and people with lived experience during planning/promoting/management of events/exhibitions? Does this extend to collaboration?

  • Is access and inclusion championed by leaders within the organisation?

  • Are d/Deaf or Disabled people involved in testing new systems, processes and procedures? For example websites, application processes, space layouts.

  • Does the organisation include access information in training and inductions undertaken by staff and contractors in public-facing roles?

  • Do employees have a clear understanding of disability, inclusion, and access and how they apply to the organisation?

  • Is everyone given the opportunity to identify their access or cultural requirements? The process should be open, easy, and confidential.

  • Is the accessibility of the organisation or project actively promoted and communicated to creatives and audiences?

  • Does the organisation have equitable application processes? See Equitable Application Processes.

  • Is the programming of all events/exhibitions and commissioning opportunities open to and accessible by d/Deaf or Disabled creatives?

  • Does the organisation pay d/Deaf or Disabled creatives according to industry standards? See Payment Standards.

  • Does the organisation include access costs as a separate budget line from artists’ fees in their budgets and when applying for funds?

  • Has accessibility been discussed with all relevant parties involved in projects during initial planning?

  • Does the organisation have flexibility in the provision of services for creatives? For example timing of delivery, alternative forms of submission, involvement of support workers.